THE BLACK FEMALE PROTAGONIST (And the Importance of Representation to Black Female Gamers)

GeekGirlCon Blog Title: The Black Female Protagonist (And the Importance of Representation to Black female Gamers) On the right, a Black woman with hands on hips wears a red cape.

By Ashlee Lawson-Kilpatrick

          Growing up, I was a Black girl, but I often felt like I didn’t quite fit into society’s expectations associated with that label. My interests in cartoons, books, and video games set me apart from what others expected. However, these forms of media provided me with both comfort and a means to explore and understand my identity, mainly since my parents rarely talked about my cultural background beyond the skin color I inherited. It wasn’t until middle school that I learned about my mother’s Trinidadian heritage, and I discovered my father’s Panamanian heritage only at the end of high school. 

          Media helped me understand many things my parents wouldn’t discuss. However, I couldn’t blame them; they were two immigrants who came to the United States at a young age and had to figure everything out on their own. While the media played a significant role in my upbringing, it was largely dominated by an overwhelming presence of whiteness. The TV shows and movies I watched primarily featured white characters. The books available in my school library typically focused on white protagonists or animals. The video games for sale often lacked representation of anyone who looked like me.

Representation of Black girls like me was mostly absent in the media. 

          Media representation extends far beyond race and gender. It also includes ethnicity, cultural background, sexual orientation, age, physical abilities, and mental health conditions. The media influences societal self-perception and perceptions of others, prompting discussions about representation across various platforms. There is an increasing demand for authentic and inclusive representation, especially in the video game industry, where discussions have arisen about portraying and integrating diverse characters and narratives into gaming experiences. 

          For instance, one key example of these discussions in video games is the representation of Black female protagonists. Discussing the representation of Black female protagonists in video games is vital in today’s gaming communities because Black female gamers are an overlooked demographic that deserves recognition and representation in the industry. Their voices and experiences must be acknowledged and celebrated, as they contribute to the gaming landscape that doesn’t adequately represent them. 

Black woman holds hands up to the VR equipment she is wearing.

Representation fosters a sense of belonging by allowing Black female gamers to see themselves authentically reflected in the games they play, which validates their identities and affirms their presence within the gaming world.

          This sense of belonging helps counter the longstanding stigma that video games are exclusively for White cisgender males. This stereotype often marginalizes and excludes Black women from feeling accepted in gaming environments. By highlighting Black female protagonists, the gaming industry can better recognize the contributions and experiences of Black female gamers while challenging damaging stereotypes.

          To comprehend the importance of Black female protagonists in video games, let’s delve into Black women’s demographics in the American gaming spaces. While there are limited specific statistics available on Black female gamers, the Entertainment Software Association (2024) reports that there are 190.6 million video game players in the United States, with 46% identifying as female. Furthermore, 12% of American gamers are Black or African American. These statistics show approximately 10.5 million Black female gamers, representing about 5.5% of the total gaming population in the United States. In comparison, the general Black female population in the United States is about 23,530,579, making up roughly 6.92% of the total US population (United States Census Bureau, 2024).

Black women are not well represented in gaming compared to their numbers in the general population. This lack of representation raises questions about inclusion in the gaming industry.

          Black female gamers face barriers, such as not having relatable characters, targeted marketing that overlooks them, and stories that do not reflect their experiences. This situation indicates that gaming spaces may not be welcoming or inclusive for Black women, which could discourage them from taking part in a medium that should be for everyone.

          The experiences of Black female gamers in gaming spaces are greatly shaped by the complexities of their intersecting identities as both Black individuals and women. This intersection of race and gender creates a distinct lived reality, requiring them to navigate environments where they are frequently underrepresented and marginalized. As Kimberlé Crenshaw (1989), an American civil rights advocate and a scholar of critical race theory, explained, intersectionality highlights how overlapping identities can lead to either discrimination or privilege, illustrating the multifaceted experiences of Black female gamers.

          In gaming spaces, this intersectionality is evident through hostile interactions, such as racial and gender harassment, and the psychological impact of stereotype threat (Richard & Gray, 2018). TreaAndrea M. Russworm, PhD, professor of interactive media and games division at the University of Southern California, noted that “[a] history of white supremacy runs deep in the gaming industry, both past and present…[and] doesn’t value or even acknowledge Black women players” (Starks, 2023). The continued marginalization of Black female gamers results in their existence and contributions being overlooked. 

          Black female gamers frequently face negative experiences due to barriers tied to both their race and gender, a phenomenon often described as racialized misogyny. These challenges can create a profound sense of isolation, reminiscent of the exclusion many marginalized gamers feel in the gaming community (Richard & Gray, 2018). Isolation can negatively impact an individual’s mental health by fostering feelings of loneliness, which in turn increases the risk of anxiety and depression (Mann et al., 2022). Loneliness can lead to mental and physical health problems, like increased stress, higher inflammation, and negative thoughts. Over time, these issues can make loneliness feel even worse.

          Many Black female gamers reported feeling isolated in gaming spaces due to not only a lack of representation and inclusivity but also the prevalence of racism and online harassment, particularly from men (Starks, 2023). Many female gamers, especially Black female gamers, have faced harassment from males who make racist, vulgar, or sexist comments on platforms like Twitch and YouTube. A 2023 report by the Anti-Defamation League (ADL) on hate and harassment in gaming reveals that the harassment rate for women is 8%, while for Black gamers, it stands at 50%. This report does not include specific research on the experiences of Black female gamers. However, the available data suggests that the unreported harassment rate they face could be even higher, potentially ranging from 55% to 70%. 

Princess Zelda (The Legend of Zelda)

          When analyzing mainstream AAA games and established franchises, it becomes clear that Black female characters are present in the gaming world, though they are rarely the main protagonists. A look at video game history reveals that female video game characters were often depicted in ways that reinforced traditional gender roles. For example, characters like Pauline in Donkey Kong and Princess Zelda in The Legend of Zelda were depicted as damsels in distress, needing rescue from male protagonists (Bashir, 2022). In the 1990s, the introduction of strong female video game protagonists, such as Lara Croft from Tomb Raider, marked a significant shift. However, while many people credit Lara Croft as the first female protagonist in video games, the true pioneer was Billie Sue, a farmer girl from the 1982 game Wabbit for the Atari 2600, which a Vietnamese woman created.

Four images of pixelated Billie Sue, the farmer girl heroine from the game 1982 Atari game: "Wabbit."

Wabbit’s Billie Sue character

          Regarding Black characters, most of their earliest portrayals were as athletes in sports title video games, reinforcing the “Black Athlete Trope.” The first playable Black video game character was widely recognized as the athlete in Atari’s Basketball, which was released in 1979 and depicted in color (Edwards, 2009). However, there is ongoing debate about whether the character in Sega’s Heavyweight Champ, released in 1976, could also be considered the first Black playable video game character, due to the game’s ambiguous black-and-white graphics (Norwood, 2021). Historically, Black characters in video games were often reduced to merely being selectable options in fighting games or serving as secondary characters that supported their white counterparts, who were typically the main protagonists. It wasn’t until 1987 that the first Black male video game protagonist appeared in the lesser-known PC game Mandroid (NowThis Nerd, 2018).  

Cover of Dreamcast Urban Chaos PC game, featuring D'arci Stern, the black protagonist of the game.

Black female protagonist D’Arci Stern in Urban Chaos

          The gaming world didn’t see its first Black female protagonist until 1999 with D’Arci Stern in Urban Chaos (DirecTV, 2022). Since then, a report from DiamondLobby shows that only 8.3% of the main characters in video games are women from non-white ethnic backgrounds (Lin, 2023). This statistic highlights the ongoing challenges of achieving diversity and inclusion in gaming. Black female protagonists are rare, even many years after D’Arci’s introduction. Several recent examples of Black female protagonists in gaming include Nilin Cartier-Wells from Remember Me, Clementine from Telltale’s The Walking Dead, and Alfre “Frey” Holland from Forspoken. However, despite these characters, the gaming industry still struggles to create authentic and well-developed Black female protagonists.

Forspoken game image featuring title character Frey, a Black woman.

Frey Holland, protagonist of Forspoken

          From the perspective of a Black woman in gaming, it is essential to address issues such as colorism, harmful stereotypes, and the portrayal of trauma concerning Black female protagonists to improve their representation, especially since there are about 10 million Black female gamers whose experiences are largely overlooked in current gaming representation (Entertainment Software Association, 2024). Improving representation is not about just ticking a diversity checkbox. It calls for an industry to reflect its diverse audience authentically. Elevating these voices not only combats harmful stereotypes but also enriches the gaming landscape with multifaceted characters who can inspire a broader range of players. 

          There needs to be greater visibility for dark-skinned Black women, rather than focusing solely on lighter-skinned or racially ambiguous Black women in lead roles. Black women should not be reduced to one-dimensional tropes such as the “Strong Black Woman” or “Sassy Black Woman.” Their narratives should not concentrate exclusively on trauma, pain, or oppression. Instead, Black female characters deserve to celebrate the joy, complexity, and positive experiences that come with their identities.

Black female gamer wearing headphones gives a thumbs up while sitting in a chair in front of a computer screen.

          In conclusion, media representation impacts societal perceptions and individual self-identity. Representation matters, especially for the little black girl I once was who rarely saw herself reflected in the media she consumed growing up. She would often feel out of place, especially with the presence of whiteness in her interest in cartoons, books, and video games. She never really got to see herself as the hero of the story. That little black girl even felt alone and invisible.

Now as a Black woman and still a gamer, I recognize how vital authentic and multifaceted gaming representation is for Black female gamers. Representation is a powerful affirmation of their identities.

          When Black female gamers see characters who they can resonate with—characters that go beyond harmful stereotypes, colorism, or narratives solely centered on trauma—it combats their feelings of isolation by reinforcing that their presence and perspective matter in the gaming community. It cultivates a sense of belonging in an industry where they have been historically underrepresented or misrepresented. Addressing the representation of Black female protagonists in gaming is not just a matter of diversity. It is about creating inclusive narratives that acknowledge Black female gamers. By doing so, the gaming industry can provide the representation that many Black female gamers, like my younger self, desperately need to see.

Selfie of article author, Ashlee, a Black woman with glasses and silver earrings wearing a colorful blouse.

Ashlee Lawson-Kilpatrick

References:
Anti-Defamation League. (2023). Hate is No Game: Hate and Harassment in Online Games 2023. 
Bashir, D. (2022, May 18). World’s First Female Video Game Protagonist Was Created by a Vietnamese Programmer. Retrieved from IGN Southeast Asia: https://sea.ign.com/wabbit/185503/news/worlds-first-female-video-game-protagonist-was-created-by-a-vietnamese-programmer
Crenshaw, K. (1989). Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics. University of Chicago Legal Forum, 1989(1), 139–167. Retrieved from https://chicagounbound.uchicago.edu/cgi/viewcontent.cgi?article=1052&context=uclf
DirecTV. (2022, February 28). The Evolution of Black Female Video Game Characters. Retrieved from DirecTV: https://www.directv.com/insider/black-history-month-the-evolution-of-black-women-in-video-games/#:~:text=It’s%20a%20somewhat%20distressing%20fact,deserved%20time%20in%20the%20spotlight.
Edwards, B. (2009, January 19). The First Black Video Game Character. Retrieved from Vintage Computing and Gaming: https://www.vintagecomputing.com/index.php/archives/536/the-first-black-video-game-character
Entertainment Software Association. (2024). 2024 Essential Facts About the U.S. Video Game Industry. Retrieved from Entertainment Software Association: https://www.theesa.com/wp-content/uploads/2024/05/Essential-Facts-2024-FINAL.pdf
Google. (2023, February). Google Global Insights Diversity Equity & Inclusion Report Feb 2023. Retrieved from https://games.withgoogle.com/: https://services.google.com/fh/files/misc/gamer_research_on_dei.pdf
Lin, B. (2023, February 22). Diversity in Gaming Report: An Analysis of Diversity in Video Game Characters. Retrieved from DiamondLobby: https://diamondlobby.com/geeky-stuff/diversity-in-gaming/#:~:text=Gender%20Diversity%20in%20Video%20Games,females%20of%20non%2Dwhite%20ethnicities.
Mann, F., Wang, J., Pearce, E., Ma, R., Schlief, M., Lloyd-Evans, B., . . . Johnson, S. (2022, May 18). Loneliness and the onset of new mental health problems in the general population. Social Psychiatry and Psychiatric Epidemiology, 57(11), pp. 2161-2178. doi:doi: 10.1007/s00127-022-02261-7
Nadal, K. (2021, December 27). Why Representation Matters and Why It’s Still Not Enough. Retrieved from Psychology Today: https://www.psychologytoday.com/us/blog/psychology-the-people/202112/why-representation-matters-and-why-it-s-still-not-enough
Norwood, R. (2021, February 26). Coding Blackness: A History of Black Video Game Characters. Retrieved from WIRED: https://www.wired.com/story/black-character-history-video-games/
NowThis Nerd. (2018, February 8). The History of Black Video Game Characters | NowThis Nerd. Retrieved from https://www.youtube.com/watch?v=1-xEABBIk_8&t=185s
Richard, G. T., & Gray, K. L. (2018, January). Gendered Play, Racialized Reality: Black Cyberfeminism, Inclusive Communities of Practice and the Intersections of Learning, Socialization and Resilience in Online Gaming. Frontiers: A Journal of Women Studies, 39(1), pp. 112-148. doi:10.5250/fronjwomestud.39.1.0112
Starks, S. L. (2023, August 22). Black Girl Gamers Band Together Against 2023’s Final Boss: Loneliness. Retrieved from allure: https://www.allure.com/story/black-girl-gaming-groups-loneliness?utm_source=chatgpt.com
United States Census Bureau. (2024). QuickFacts: United States. Retrieved from United States Census Bureau: https://www.census.gov/quickfacts/fact/table/US/RHI225223#RHI225223

Emerald Peterson
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Meg Murry: Girl Power through Space and Time

The first time I read A Wrinkle in Time, it was part of a 4th grade reading assignment, where each student had to choose a book that all the other students would then take turns reading. I’ll be honest. A Wrinkle in Time, chosen by the only kid in class who could spell Czechoslovakia (which was both still a country at that time and quite the feat of spelling), fell somewhere between the books Soup on Wheels and Freckle Juice, both of which resonated with my 9-year-old bookish self a bit more than A Wrinkle in Time.

With its more complex character development and themes of love and individuality that seemed beyond my years or at least beyond Soup on Wheels, that initial reading didn’t leave me feeling all that inspired. That said, I fortunately returned to the book just a few short years later and have since read it at least half a dozen times. With each new reading, more of the book’s magic and wisdom is revealed to me, largely through its oh-so-relatable 13-year-old protagonist and my personal geek girl hero, the plucky Meg Murry.

Lucy Hodge
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Shirase Kobuchizawa: Ordinary Girl, Extraordinary Goal

Shirase posing for a forced perspective photo.

Series spoilers included.

A Place Further than the Universe is not your typical “cute-girls-doing-cute-things” anime, and thank goodness! Sure, the four protagonists are cute teen girls, but that is where the similarities with the genre end. Instead, A Place Further than the Universe is a coming-of-age story in which Mari Tamaki, Shirase Kobuchizawa, Hinata Miyake, and Yuzuki Shiraishi learn about themselves (and of course, friendship) during an expedition to Antarctica.

While Mari, Hinata, and Yuzuki all have great character development, Shirase’s narrative stuck with me. The writers made her a character full of contradictions: stoic looks, but full of emotions. She’s super stubborn, but only until she catches a glimpse of penguins. I love her character because she’s an ordinary, realistic girl who will stop at nothing to achieve the extraordinary.

Kalyna Durbak
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Princess Leia: My First Feminist Icon

Princess Leia

For as long as I’ve been a fan of anything, I’ve been a fan of Star Wars. I have vivid memories of sitting on a friend’s couch watching The Empire Strikes Back and being completely immersed in the experience.

Princess Leia was my favorite character. She was a girl just like I was, and she was snarky, had great hair, and did everything the boys did. Years before I had ever heard of fanfiction, I was mentally writing elaborate adventures for Leia as she repeatedly saved the universe in increasingly spectacular (and improbable) ways.

Eric Mack
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Strong Female Character: Jane the Virgin Needs Her Mom (And So Do You)

Source: TV Guide

Source: TV Guide

I have a pretty established preference for the serious when it comes to T.V. drama. (TGIT, anyone?) However, one night, about a year ago, in a room-cleaning daze, I happened upon the silliest, most light-hearted, and most romance-novel romantic series I know of: Jane the Virgin. It’s the opposite of everything I’ve come to expect from a binge-worthy dramatic T.V. series and yet, I love it.

Jane the Virgin is about a woman, Jane, who, in the midst of finishing school, getting engaged, and suddenly reuniting with her long-lost superstar father, is accidentally artificially inseminated. The premise is loosely based on a Venezuelan telenovela, Juana la Virgen, and is a jarring but captivating juxtaposition of telenovela tropes and real characters and problems. The drama is decadent, the writing is masterful, and the characters are hilarious, but that’s not the reason I will recommend the show to anyone and everyone. That’s not what has caused me to write not one but two academic papers analyzing the story’s development. I love Jane the Virgin because I love Jane.

Teal Christensen
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Strong Female Characters: Ellen Ripley

It’s dark in space. Cold. And after a while, it’s a job just like any other. This is the world we are dropped into at the beginning of Ridley Scott’s 1979 sci-fi/horror masterpiece, Alien.

Through voyeuristic cinematography, we’re introduced to the crew of the Nostromo. There is nothing glamorous about this version of space. Their jobs seem something akin to long-haul trucking, and their living quarters are about as clean. They make small talk, give and receive orders, and generally look bored. Of course, that all changes when they run into an alien species.

I’d love to wax poetic about the incredibly tense, bare-bones script of Alien that follows, but that’s not my focus for today.

My focus is warrant officer, Ellen Ripley (played with femininity and strength by Sigourney Weaver). She is one of the best examples of a truthful female character to date.

From the first moment she appears on screen she is treated with an equality rarely afforded women in film. She is shot with the same camera angles and lighting as everyone else. She wears no makeup because a person performing a job such as hers would not be wearing any. Her uniform is the same cut and fit as the rest of the crew. Nothing about her is highlighted in a stereotypical leading lady fashion. She’s just one of the crew.

The story moves forward as the characters struggle to make sense of the creature threatening their every move. Ripley fights, second-guesses, and makes mistakes along with the rest of the crew, but she is never treated differently because she is a woman. Certainly, she is strong, but she is notjust strong. She is frightened, flawed, intelligent, and most importantly, human. Her strength comes from her resilience in the face of being imperfect.

Ripley finally prevails over the creature, but not before being forced to give up everything, even (temporarily) the atmosphere in her escape pod. Her desire to survive is found in all of us. It’s coated in humanity’s DNA. It knows no gender. It is singular in its pursuit.

It is worth pointing out that the character was originally written with a man in mind. That piece of information gives the idea of strong female characters a whole new perspective. The character of Ellen Ripley is competent, real, and entirely female. This is because she is presented to us that way.

Armed with this simple behind-the-scenes knowledge we are given the most blaring example of gender-as-construct. Ellen Ripley identifies as female, so the actions she takes are viewed as female. Having strong, complex, emotionally alive female characters is as simple as focusing more on the character’s desires and actions and less on their presented gender.

Who we are is determined by what we do. When we create female characters with this focus in mind, they will be filled with all the tenacious strength humanity has to offer.

Eric Mack
“Rock On!”

Dr. Sofia Lamb: The Vixen, The Soldier, and The Mother

I have a hearty admiration for well-written female villains.  Hearty, I say, because it is a severe, bountiful, and vigorous admiration, but also because they still seem to be few and far between.  While female protagonists are progressively growing in rank, it’s sad to see the nurses from Silent Hill on more “Top Tens” than characters with actual dialogue.  It’s not that we totally lack woman antagonists, but we do lack a variety that have believable backstories, relevant motives, and some good TLC from the good ol’ writers.  There is a place for leotards and sultry walk cycles, but they still need to fit into some sort of justified environment and have at least a smidgen of narrative integrity.

Indigo Boock
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Team Cassius: The Interview!

Ann Uland, Emily Willis and Cat Batka are the creative squad behind Cassius, a new comic series that depicts Ancient Rome as a wonderfully diverse place, and with a driving story of political intrigue and loads of strong female characters. We’ve reviewed Issue 1 here, and Issue 2 here. Issue 3 comes out in March 2016.

They took a little time out to have a chat with us at GeekGirlCon about Justin Trudeau, their favorite books, and making their own comic company!

L to R: Ann, Emily, Cat. Photo provided by Emily Willis and Ann Uland

L to R: Ann, Emily, Cat. Photo provided by Emily Willis and Ann Uland

Tell me a little about yourselves and Arbitrary Muse Comics. How did you come up with the idea for making your own publication?

Ann Uland: We first met online because I started drawing things for a story Emily was writing. When we started dating, it was pretty natural for us to start coming up with stories we wanted to tell together and comics is the perfect marriage of writing and art for us.

Emily Willis: Arbitrary Muse evolved as a small comics company to encapsulate what we do when we sell our own self-published work and help to distribute other webcomics in print as well. Cassius is our latest project because Julius Caesar is my favorite Shakespearean play and I wanted to work on something inspired by it.

JC Lau
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Strong Female Character: Leslie Knope of Parks and Recreation

Written by GeekGirlCon Copywriter Henry Behrens.

I’ll admit, I haven’t watched the last season of Parks and Recreation yet. I keep putting it off because the longer the episodes stay unwatched, the better I can convince myself that it isn’t over yet. Because Parks & Rec not only has (not had! We’re not in past tense yet!) the best ensemble cast TV has seen in years, but it also boasts the best lady role model I’ve ever seen in primetime.

When Parks & Rec first debuted in 2009, it seemed almost rote to compare it to the other workplace mockumentary airing at the time: The Office. But where Steve Carrell’s Michael Scott is incompetent, irritating and whiny, Amy Poehler as Leslie Knope is determined, friendly, caring, devoted, feminist, and strong—and I want to be just like her when I grow up.

Henry Behrens
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